2. In the following passages, which illustrate the development of blank verse, examine the metrical features (such as the scansion, variation of the pause, and the melody) of each, and mention if any improvement is apparent. (1) It was the time when granted from the gods, The first sleep creeps most sweet in weary folk, Lo, in my dream before mine eyes, methought With rueful cheer I saw where Hector stood (Out of whose eyes gushed streams of tears), Drawn at a car as he of late had been, Distained with bloody dust, whose feet were bowl’n[113] With the strait cords wherewith they haled him. SURREY, _Æneid_, 1557 (2) That age is dead and vanished long ago, Which thought that steel both trusty was and true And needed not a foil of contraries, But shewed all things even as they were in deed. In stead whereof, our curious years can find The crystal glass, which glimpseth brave and bright, And shews the thing much better far than it, Beguiled with foils, of sundry subtle sights So that they seem and covet not to be. GASCOIGNE, _The Steel Glass_, 1576 (3) _Prospero._ Of the king’s ship The mariners, say how thou hast disposed And all the rest o’ the fleet. _Ariel._ Safely in harbour Is the king’s ship: in the deep nook, where once Thou call’dst me up at midnight to fetch dew From the still-vex’d Bermoothes, there she’s hid: The mariners all under hatches stow’d; Who, with a charm join’d to their suffer’d labour, I have left asleep: and for the rest o’ the fleet Which I dispersed, they all have met again And are upon the Mediterranean flote, Bound sadly home for Naples, Supposing that they saw the king’s ship wreck’d And his great person perish. SHAKESPEARE, _The Tempest_, 1611 3. Comment upon the style, meter, and general level of excellence shown in the following sonnets. Point out any development that is observable.